Graham Reynolds has a reputation for bending genres, reshaping expectations, and turning familiar sounds into something distinctly Austin. His eighth annual "Ruin the Holidays" performance at the Long Center’s Rollins Studio Theatre on December 12–13 did exactly that—subverting traditional holiday cheer with minor‑key mischief, pedal steel flourishes from guest artist Ricky Davis, and an atmosphere that felt equal parts jazz club, art experiment, and inside joke. For a deeper look at his career of boundary‑pushing work, you can explore his official bio and projects.

While the show has wrapped for 2025, Austin is still talking about it. This insider guide recaps what made this year’s edition the weirdest, sharpest, and most uniquely Austin holiday performance of the season, and how it fits into the city’s broader lineup of immersive concert experiences.

Essential Info
• Dates: December 12–13, 2025
• Time: 8 PM nightly
• Venue: Rollins Studio Theatre at the Long Center
• Tickets: $64
• Special Guest: Ricky Davis (pedal steel)

You’ll typically see this performance pop up on major Austin event calendars like Do512’s listings, alongside other offbeat seasonal favorites such as Mozart’s Festival of Lights on the lake.

Why This Show Became a Local Favorite

Reynolds doesn't parody holiday music—he dismantles it and rebuilds it with a kind of chaotic precision. Well‑known carols slipped into minor keys, shifted tempos, or dissolved into atmospheric improvisations. Davis’ pedal steel added a haunting shimmer that turned classic holiday melodies into something dreamlike and a little derailed—in the best way. For context on how this fits into his larger, genre‑bending body of work across film scores, dance, and chamber collaborations, check out his Austin Chamber Music Center profile.

Austin audiences know the deal by now: you’re not coming to sing along. You’re coming to watch holiday tradition get lovingly torched, in the same spirit that powers the city’s oldest holiday staple, the Trail of Lights at 60, and its weirdest competition, the Armadillo Christmas Bazaar’s National String Off.

For a broader, encyclopedic snapshot of his Austin roots, Golden Arm Trio, and Golden Hornet projects, you can also browse the Graham Reynolds (composer) entry on Wikipedia.

Insider Intelligence
• The show often changes dramatically year to year—no two performances stay musically the same, something that’s echoed in in‑depth features like the Texas Observer’s look at how he became “Texas’ top composer”.

• Reynolds uses the Rollins Studio intentionally for its intimate acoustics; the space allows the quietest pedal‑steel notes to land, similar to the way small art‑centric venues like Laguna Gloria embrace subtle sound and atmosphere.

• Seats sell out fast each December—Long Center regulars treat it like an annual ritual, much like families who return every year to big‑scale drive‑through spectacles such as Peppermint Parkway at COTA.

• If you're hoping to catch the 2026 edition, join the Long Center newsletter early in the fall and keep an eye on his official site for upcoming shows.

If you’re curious about how this kind of edge‑pushing, genre‑fluid work reflects Austin’s broader creative identity, you can dive into his conversation with KMFA’s “On the Edge” series, where Reynolds talks about exploring the edges of classical and jazz in Austin.

This year’s edition may be over, but Graham Reynolds Ruins the Holidays remains one of Austin’s clearest reminders that holiday traditions don’t need to be tidy—they just need to be true to the city’s creative spirit. If you’re planning a full festive circuit next season, consider pairing it with other uniquely Austin nights out, from post‑holiday dance marathons to the lakeside glow of Mozart’s lights.